![]() ![]() If you’re using the Minilogue's external input for another instrument or as a processing device on your DAW, be sure to explore these features. It’s worth noting that when the delay and feedback are set to zero, you can use the highpass on its own for buzzy leads and dramatic noise whooshes. Post Filter: This mode puts the entire delay after the highpass filter, which is handy for thinning the sound of your patches. The result will be a seemingly endless echo that dissolves into a mess of earsplitting distortion, which works well in dance music breakdowns and fadeouts. For a dramatic disintegrating delay, use a longish delay time, set the highpass cutoff at 50 percent and increase the feedback above 75 percent. For a classic, non-filtered delay, leave the cutoff at minimum. Pre Filter: This places the highpass filter in the feedback loop, so every repeat is a little thinner and grungier. Here are the specifics about its three modes.īypass: Delay and filter are left out of the Minilogue chain for a completely analogue signal path. The Minilogue’s delay is digital, but the feedback loop includes an analogue highpass filter that can be configured in a few ways, giving it a lot of versatility. This is a rich resource for unusual effects, and in conjunction with the sequencing tools described below, the Minilogue is ripe with potential as an effect that will keep listeners guessing. The Minilogue also includes an external input for processing audio through its filter, amp and delay sections. Interestingly, this effect doesn’t occur on the triangle or square waves, which function reliably in repeating fashion. So, if you apply that type of modulation to the sawtooth waveshape of an oscillator, the results will be slightly unpredictable. This is because the LFO sawtooth wave folds back on itself in instances like this. Here, if the oscillator sawtooth shape parameter is set to zero and sawtooth modulation is applied to the waveshape, it will sound like a triangle wave. Confusing things slightly is the Minilogue's unorthodox implementation of the sawtooth wave, specifically when used to modulate the oscillator’s saw-tooth waveshape. Speaking of the LFO, it can only be routed to three destinations, pitch, cutoff and waveshape. As for LFO-rate modulation, it’s more of a sound effect when applied to pitch, but sounds lovely applied to the oscillator shape parameter in a subtle manner. If you modulate the LFO intensity with the envelope, you can re-create the old-school polysynth effect of “delayed vibrato.” That is, by setting the envelope sustain to maximum and decay to zero, you can fade in vibrato as you hold a note by giving the envelope a long attack. While the Minilogue's envelope options are a bit basic-two ADSRs, one dedicated to amp and the other for all other envelope modulation duties-the second envelope offers two routings that you don’t often see on mainstream synths: It can modulate either the rate or the intensity of the LFO modulation. With velocity enabled, your playing style determines the pattern of the filter sequence. Pro Tip: Because the filter cutoff can also be controlled via velocity, with 50 percent and 100 percent options available, you can create cool stepped-filter effects by leaving envelope modulation at zero, increasing the resonance to 40 to 70 percent, and setting cutoff to 50 percent. ![]() While some users may find this undesirable, the upside of the design is that it can be used as a pseudo highpass filter, especially when envelope modulation is set to zero. ![]() That said, the Minilogue's filter circuit exhibits a distinctive low-frequency roll-off when the resonance is increased above 25 percent. When you crank up the resonance, the filter will self-oscillate in both modes, allowing it to function as a third sine-wave oscillator when keyboard tracking is set to full. The Minilogue and monologue have very different filters, with the Minilogue sounding a bit more like a Curtis filter, with both 2-pole (12 dB/oct) and 4-pole (24 dB/oct) options. It’s important to note that cross-mod FM is very different from the digital FM found on the Yamaha DX7 or Ableton Operator, but it’s great for nasty techno and electro effects. Depending on your envelope modulation amount, you can get everything from punchy kicks to disco toms.Īnother distinctive feature of the minilogue’s oscillator section is cross-modulation-an alternate term for analog FM-with oscillator 1’s output modulating the frequency of oscillator 2. For those types of percussion, turn off oscillator 1, set oscillator 2 to a plain triangle wave and give the auxiliary envelope an instant attack, zero sustain, and medium decay and release. This envelope is also useful when creating tom and kick sounds. ![]()
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